ALESIS QuadraVerb GT

Reference Manual
sCHAPTER 1 GETTING STARTED..1
1.1 INTRODUCTION...1 What It Is....1 Features...2 1.2 SYSTEM HOOKUP BASICS...2 AC Transformer Hookup..3 1.3 AUDIO HOOKUPS...3 Mono In, Mono Out...3 Mono In, Stereo Out...4 Stereo In, Stereo Out...4 Mono Send, Mono Return Effects Loop...5 Mono Send, Stereo Return Effects Loop...5 Stereo Send, Stereo Return Effects Loop...6 Interfacing with Mixer Stereo Effects Sends..7 1.4 FOOTSWITCH HOOKUP...7 1.5 EXTERNAL EFFECTS HOOKUP..8 1.6 SETTING LEVELS...9 1.7 CHECK OUT THE FACTORY PROGRAMS...9 Selecting Programs...10 1.8 MIDI HOOKUP...10 MIDI Program Selection...11 MIDI Controller Pedal Hookup...12 MIDI Thru/Out Hookup...13 1.9 ROCK OUT!....13
CHAPTER 2 QuadraVerb GT MODULES AND CONFIGURATIONS 14
2.1 ABOUT THE QUADRAVERB GT's EFFECTS.14 Preamp....14 Reverb....14 Delay...15 Pitch Change....15 Equalization...16 Panning and Tremolo...18 Ring Modulation...18 Tunable Resonators....18 Sampling...18 Mixer...18 Modulation...19 Bi-Timbral Effects....19 2.2 ABOUT CONFIGURATIONS...20 #1 Preamp > EQ > Tremolo/Panning > Pitch > Delay > Reverb 21 #2 Preamp > Lezlie > Delay > Reverb..22 #4 Preamp > 5 Band EQ > Tremolo/Panning >..23

#5 #6 #7 #8

Preamp > 3 Band EQ > Reverb..24 Preamp > Ring Modulator > Delay > Reverb.25 Preamp > Resonators > Delay > Reverb..25 Preamp > Sampling...26
CHAPTER 3 - BASIC EDITING TECHNIQUES..27
3.1 HOW EDITING WORKS...27 3.2 COMPARING EDITED AND NON-EDITED VERSIONS OF PROGRAMS 29 3.3 SAVING (STORING) EDITED PROGRAMS..29 3.4 RENAMING PROGRAMS...30 3.5 RECALLING INDIVIDUAL FACTORY PROGRAMS..31 3.6 RECALLING ALL FACTORY PROGRAMS...31
CHAPTER 4 EDITING CONFIGURATION PARAMETERS.32
4.1 SELECTING A CONFIGURATION..32 4.2 SELECTING A CONFIGURATION MODULE FOR EDITING.33 4.3 EDITING PREAMP PARAMETERS..33 Compression....33 Overdrive....33 Distortion....34 Preamp Tone....34 Bass Boost....35 Cabinet Simulator...35 Effect Loop...35 Noise Gate...36 Preamp Out Level...36 4.4 EDITING REVERB PARAMETERS..37 Reverb Type (configs 1, 2, 5, 6, 7)..37 Reverb Input 1 (configs 1, 2, 6, 7)..37 Reverb Input (config 5)...38 Reverb Input 2 (configs 1, 2, 6, 7)..38 Reverb Input Mix (configs 1, 2, 6, 7)..38 Reverb Predelay (configs 1, 2, 5, 6, 7)..39 Reverb Predelay Mix (configs 1, 2, 5, 6, 7)..39 Reverb Decay (configs 1, 2, 5, 6, 7)...40 Reverb Diffusion Amount (configs 1, 2, 5, 6, 7)..40 Reverb Density (configs 1, 2, 5, 6, 7)..41 Reverb Low Frequency Decay (configs 1, 2, 5, 6, 7).41 Reverb High Frequency Decay (configs 1, 2, 5, 6, 7)..42 Reverb Gate Status (configs 1, 2, 5, 6, 7)..42 Reverb Gate Hold Time (configs 1, 2, 5, 6, 7)..42 Reverb Gate Release Time (configs 1, 2, 5, 6, 7)..43 Reverb Gated Level (configs 1, 2, 5, 6, 7)..43 4.5 EDITING DELAY PARAMETERS...43
Delay Type (configs 1, 2, 3, 4, 6, 7)..43 Delay Input 1 (configs 1, 4, 6, 7)..44 Delay Input (config 3)...44 Delay Input Mix (configs 1, 2, 4, 6, 7)..45 Delay Time (configs 1, 2, 3, 4, 6, 7)...45 Delay Feedback (configs 1, 2, 3, 4, 6, 7)...46 Right Delay Time (configs 1, 2, 3, 4, 6, 7)...46 Delay Feedback Right (configs 1, 2, 3, 4, 6, 7)..46 Multi Tap Number (config 4 only)...47 Multi Tap Delay Time (config 4 only)..47 Multi Tap Volume (config 4 only)...47 Multi Tap Panning (config 4 only)...48 Multi Tap Feedback (config 4 only)..48 Multi Tap Master Feedback (config 4 only).48 4.6 EDITING PITCH PARAMETERS...49 Pitch Mode (configs 1, 4)...49 Pitch Input (configs 1, 4)...50 LFO Waveshape (Chorus only)...50 LFO Speed (Chorus and Flange only)...50 LFO Depth (Chorus and Flange only)...50 Pitch Feedback (Chorus and Flange only)..51 Trigger Flange (Flange only)..51 Pitch Detune (Detune only)...51 Phaser Speed (Phaser only)...52 Phaser Depth (Phaser only)...52 Lezlie Stereo Separation (config 2 only)..52 Lezlie Motor Control (config 2 only)..52 Lezlie Speed (config 2 only)...53 Ring Modulator Spectrum Shift (config 6 only)..53 Ring Modulator Output Mix (config 6 only)..53 Ring Modulator Delay/Reverb Input (config 6 only).54 Reverb Chorus Mode (config 5 only)..54 4.7 A WORD ABOUT EQ, RESONATORS, AND GUITAR TONE.55 Resonators, EQ, and Tone...55 Programmable Tone Curves...56 4.8 EDITING 3-BAND EQ AND RESONATOR PARAMETERS (config 1) 56 EQ Preset...56 EQ Mode....57 Resonator Tune (Resonators + EQ mode only)..57 Resonator Decay (Resonators + EQ mode only)..57 Resonator Amplitude (Resonators + EQ mode only).58 Low EQ Frequency (3 Band EQ mode only).58 Low EQ Amplitude (3 Band EQ mode only)..58 Mid EQ Frequency...59 Mid EQ Bandwidth...59 Mid EQ Amplitude...59

High EQ Frequency (3 Band EQ mode only)..60 High EQ Amplitude (3 Band EQ mode only)..60 4.9 EDITING LEZLIE EQ PARAMETERS (config 2)..61 High Rotor Level...61 4.10 EDITING 11-BAND GRAPHIC EQ PARAMETERS (config 3).61 EQ Preset...61 Graphic Frequencies and Levels..62 4.11 EDITING 5-BAND EQ AND RESONATOR PARAMETERS (config 4)63 EQ Preset...63 EQ Mode....64 Low EQ Frequency...64 Low EQ Amplitude...64 Low Mid EQ Frequency (5 Band EQ mode only)..64 Low Mid EQ Bandwidth (5 Band EQ mode only)..65 Low Mid EQ Amplitude (5 Band EQ mode only)..65 Mid EQ Frequency...65 Mid EQ Bandwidth...66 Mid EQ Amplitude...66 Hi Mid EQ Frequency (5 Band EQ mode only)..66 Hi Mid EQ Bandwidth (5 Band EQ mode only)..67 Hi Mid EQ Amplitude (5 Band EQ mode only)..67 High EQ Frequency...67 High EQ Amplitude...68 Resonator Number (5 Resonator/3 EQ mode only).68 Resonator Tune (5 Resonator/3 EQ mode only)..68 Resonator Decay (5 Resonator/3 EQ mode only).69 Resonator Amplitude (5 Resonator/3 EQ mode only).69 4.12 EDITING 3-BAND EQ (config 5)...69 EQ Preset...69 Low EQ Frequency...70 Low EQ Amplitude...70 Mid EQ Frequency...71 Mid EQ Bandwidth...71 Mid EQ Amplitude...71 High EQ Frequency...72 High EQ Amplitude...72 4.13 EDITING 5 BAND RESONATOR...72 Resonator Gate Mode (config 7 only)...72 Resonator Decay (config 7 only)...73 Resonator Tune (config 7 only)...73 4.14 EDITING MIX PARAMETERS..73 Direct Signal Level...74 Master Effects Level....74 Preamp Signal....74 Preamp Level (appears only with Pre-EQ preamp signal)..75 EQ Level (appears only with Post-EQ preamp signals).75
Pitch Output Level...75 Delay Output Level...75 Reverb Output Level...76 Modulation...76 Modulation Depth...76 Modulation Speed...76 4.15 EDITING MIX PARAMETERS..77 Direct Signal Level...77 Master Effects Level....77 Lezlie Output Level....77 Delay Output Level...78 Reverb Output Level...78 4.16 EDITING MIX PARAMETERS..78 Direct Signal Level...78 Master Effects Level....79 EQ Output Level...79 Delay Output Level...79 4.17 EDITING MIX PARAMETERS..80 Direct Signal Level...80 Master Effects Level....80 Preamp Signal....80 Preamp Level (appears only with Pre-EQ preamp signal)..81 EQ Output Level (appears only with Post-EQ preamp signals).81 Pitch Output Level (appears only with Post-EQ direct signals).81 Delay Output Level...82 Modulation...82 Modulation Depth...82 Modulation Speed...82 4.18 EDITING MIX PARAMETERS..83 Direct Signal Level (appears only with Pre-EQ direct signals).83 Master Effects Level....83 Preamp Signal....83 Preamp Level (appears only with Pre-EQ preamp signal)..84 EQ Output Level (appears only with Post-EQ preamp signals).84 Reverb Output Level...84 4.19 EDITING MIX PARAMETERS..85 Direct Signal Level...85 Master Effects Level....85 Preamp Level...85 Ring Modulator Output Level...86 Delay Output Level...86 Reverb Output Level...86 4.20 EDITING MIX PARAMETERS..87 Direct Signal Level...87 Master Effects Level....87 Preamp Signal Level...87

1.8 MIDI HOOKUP

MIDI is an internationally-accepted protocol that allows musical-related data to be conveyed from one device to another. See the MIDI supplement if you are not familiar with how MIDI works. The most popular MIDI applications are hooking up a MIDI footswitch to change programs, and/or a MIDI continuous controller pedal to vary QuadraVerb GT parameters in real time, as you play. The following sections describe how this process works.

MIDI Program Selection

The QuadraVerb GT responds to MIDI program change commands. Therefore, sending a particular program number via MIDI to the QuadraVerb GT will call up the program you specified. If a device can generate program change commands, patching its MIDI Out to the QuadraVerb GT's MIDI In allows for remote program selection.

MIDI In MIDI Out

Footswitch
Several devices can generate program change commands: MIDI footswitch This is probably the option that most guitarists will use. A MIDI footswitch sends program changes in response to footswitch presses. Many companies make MIDI footswitches; their manuals explain how to program the footswitch to send out particular program changes. MIDI sequencer A sequencer can record and play back MIDI data, including program change commands. Synthesizer Selecting a new program on a synthesizer usually sends out a corresponding program change command. This allows any signal processor hooked up to the synth to change its settings in response to different synth programs. Other effects boxes If you use more than one effects box, calling up a program on it will often send a corresponding program change through its MIDI Out. NOTE: Your QuadraVerb GT and the MIDI footswitch must both be set to the same MIDI channel to execute program changes.
MIDI Controller Pedal Hookup
Several QuadraVerb GT parameters can be changed remotely over MIDI. Usually this is done with a footpedal that generates MIDI continuous controller data. There are 128 controllers, most of which are available for remote parameter control (some of the higher-numbered controllers are used to set up synthesizer modes and other things we dont need to worry about). The basic idea is to set the parameter to be controlled to a particular controller number. Then set the pedal to the same controller number. As you vary the pedal, it will generate data that will change the QuadraVerb GT parameter. For example, assigning a foot pedal to delay feedback would allow you to kick in a slapback delay at the end of a phrase. The MIDI controller pedal may be part of your footswitch unit, a separate stand-alone device, or a combination standard volume pedal and converter (e.g., Anatek Pocket Pedal). Synthesizers and other devices also generate MIDI continuous controller data. If you want to feed the QuadraVerb GT with both a footswitch for program change control and a pedal for real time control, either the footswitch or pedal will need a merging input, or you will need a MIDI merger.

#5 Preamp > 3 Band EQ > Reverb

Configuration 5

Reverb Input INPUT
REVERB + CHORUS PREAMP 3 BAND EQ
Preamp Pre/Post EQ Delay Output Effects Output
This is the recommended configuration when you want the best possible reverb sound. By restricting the number of effects, the QuadraVerb GT can devote its full computing power to creating awesome reverberation effects. However, EQ is still available for additional tone shaping, as is a simpler version of chorusing.
#6 Preamp > Ring Modulator > Delay > Reverb

Configuration 6

Ouput Shift Mix Up INPUT Delay Input Mix

Reverb Input 1

REVERB PREAMP RING MOD
Down Delay & Reverb Shift Mix
Reverb Input 2 Reverb Output Delay Output Effects Output

Ring Modulator Output

This configuration features the Ring Modulation in conjunction with Delay and Reverb. The Ring Modulator is not available in other configurations. The Ring Modulator produces two outputs, both of which are mathematically derived (sum and difference frequencies) from the input signal. The Ring Modulator output can pan between these two output signals, as can the Delay & Reverb Shift Mix control, which chooses a blend of both outputs to send to the Delay and Reverb inputs.
#7 Preamp > Resonators > Delay > Reverb

Configuration 7

Reverb Input 1 Delay Input Mix

RESON 1

RESON 2 PREAMP RESON 3 RESON 4 RESON 5
Resonator Output Reverb Input 2

REVERB

Reverb Output Delay Output Effects Output
This configuration features the Resonators in conjunction with Delay and Reverb.

#8 Preamp > Sampling

Configuration 8
Trigger Audio Trigger MIDI Note Looping On-Off Start

Length

Trigger In

Pitch In

Sampling Output

SAMPLING

Pre-Amp Signal OUTPUT
In this configuration, you can record sounds (processed by the Preamp if desired) into the QuadraVerb GT and play them back in a variety of ways.
CHAPTER 3 - BASIC EDITING TECHNIQUES
Editing is the key to using the QuadraVerb GT to its fullest potential. If you like a sound but want more reverb, less treble, more distortion, or whatever, editing is the answer. Make sure that if you develop a custom set of programs, that you save your data to some form of MIDI system exclusive storage device, like the Alesis DataDisk (see sections 5.5-5.6).

3.1 HOW EDITING WORKS

The QuadraVerb GT contains five Effects Groups, each with its own corresponding front panel selection button: Reverb, Delay, Pitch, Equalization (EQ), and Guitar Preamp (Pre-Amp). These all contain editable parameters. Four other editable functions (with front panel buttons) are also available: MIDI, Name/Mod, Mix, and Configuration. The basic editing procedure is the same for whatever you want to edit; well get into specifics later.

3.6 RECALLING ALL FACTORY PROGRAMS
1. Press STORE. The LED in the middle of the button will light. 2. Press the PAGE UP button three times. The display says: RECALL ALL 90 ALESIS PROGRAMS 3. Press STORE and all the program locations will be occupied by factory programs. Any other data will be overwritten.
CHAPTER 4 EDITING CONFIGURATION PARAMETERS
In this section, well describe how to select a configuration, then how to edit the parameters for each configuration. Please refer to the configuration block diagrams in section 2.2 for details on how particular mixing and switching parameters work with a particular configuration. Remember that after selecting a configuration, the PAGE buttons select the various pages with different parameters. If a page has more than one parameter, the PAGE buttons also move between those parameters. Once a parameter is selected, as indicated by a cursor (small underline), use the VALUE buttons to change the parameter value. Sampling is such a different type of application that it has its own chapter. All sampling parameters are covered in that chapter. Important! In many of the following sections, a diagram will show what you can expect to see when you call up a particular page. The parameter value shown for each page will usually be representative, but when you actually call up the page on the QuadraVerb GT, a different parameter value from the one shown in the manual may appear.
4.1 SELECTING A CONFIGURATION
1. Select the program whose configuration you want to change or edit. 2. Press the CONFIG button. The LED in the middle of the button will light. 3. Use the VALUE buttons to select the desired configuration.
4.2 SELECTING A CONFIGURATION MODULE FOR EDITING
After selecting the desired configuration, press the button associated with the module you want to edit (REVERB, DELAY, PITCH, EQ, or MIX). If the module is not used in a particular configuration, the display briefly says: NOT USED IN THIS CONFIGURATION
4.3 EDITING PREAMP PARAMETERS
Since all configurations use the Preamp section, well describe those edits first. Press the PRE-AMP button. Its LED will light and the first page will show the compression amount. Use the PAGE buttons to access the various pages described below.

Compression

A compressor reduces the guitar's dynamic range to increase sustain and even out amplitude peaks. Recordings often use compression to give a smooth guitar sound. Compression is an important first link in any guitar effects chain. COMPRESSION: 07 There are seven compression amounts (1-7) with higher numbers giving more compression. Compression can also be turned off.

Overdrive

The Overdrive stage provides a rhythm guitar crunch type of sound as opposed to the smoother, more biting Distortion module (which is used more for leads). The overdrive stage also gives a fuller, more harmonically dense sound than the Distortion module. The QuadraVerb GT's Overdrive stage utilizes both odd and even order harmonics to

Reverb Input 2 (configs 1, 2, 6, 7)
Delay Output [1, 2, 6, 7] The reverb input signal comes from the delay output. Pitch Output [1] The reverb input signal comes from the pitch module output. Lezlie Output [2] The reverb input signal is post-Lezlie. Ring Output [6] The reverb input signal comes from the ring modulator output. Resonator Output [7] The reverb input signal comes from the resonator output.
Reverb Input Mix (configs 1, 2, 6, 7)
The display shows: REVERB INPUT MIX 2
When set to 00, the signal sources selected in Reverb Input 1 and Reverb Input 2 are mixed equally into the reverb.
Larger numbers with the arrow pointing toward 1 indicate that more of the signal from Reverb Input 1 will be selected. When set to 99, only the signal from Reverb Input 1 will feed the reverb. Larger numbers with the arrow pointing toward 2 indicates that more of the signal from Reverb Input 2 will be selected. When set to 99, only the signal from Reverb Input 2 will feed the reverb.
Reverb Predelay (configs 1, 2, 5, 6, 7)
The display shows: REVERB PREDELAY: 001 milliseconds
With reverberation, it takes a few milliseconds before the signals from a sound source go through the acoustic space and encounter a surface, thus creating the first series of reflections. Predelay is the amount of delay that occurs before the first reflections begin. This parameter is variable from 1 to 140 ms. The larger this number, the greater the perceived size of the acoustic space. NOTE: Don't confuse the Reverb Predelay parameter with the parameters found in the delay section. The Reverb Predelay is a function of the Reverb section.
Reverb Predelay Mix (configs 1, 2, 5, 6, 7)
The display shows: PREDELAY MIX: PRE 99 POST
This parameter lets you mix some of the non-predelayed signal into the reverb input. This is useful if you want to hear a bit of reverb immediately, with more reverb coming in after the amount of time set
by the predelay parameter. When set to 00, the predelayed and non-predelayed signals are mixed equally into the reverb. Larger numbers with the arrow pointing toward POST indicate that more of the predelayed signal will be selected. When set to 99 only the predelayed signal will feed the reverb. Larger numbers with the arrow pointing toward PRE select more of the non-predelayed signal. When set to 99 only the non-predelayed signal will feed the reverb.

Reverb Gate Hold Time (configs 1, 2, 5, 6, 7)
The display shows: REVERB GATE HOLD TIME: 00 This parameter sets the amount of elapsed time (00-99) before the gate closes and cuts off the reverb tail.
Reverb Gate Release Time (configs 1, 2, 5, 6, 7)
The display shows: REVERB GATE RELEASE TIME:
This parameter determines the period of time (00-99) over which the gate closes. 00 gives an extremely sharp cutoff; 99 gives a more gradual decay.
Reverb Gated Level (configs 1, 2, 5, 6, 7)
The display shows: REVERB GATED LEVEL: 00%
The gate does not have to close to a zero level. This parameter sets the final gate level, from 00 (complete gating action; no residual reverb sound) to 99 (no gating action; reverb sound only).
4.5 EDITING DELAY PARAMETERS
Delay Type (configs 1, 2, 3, 4, 6, 7)
There are four different types of delay. Mono Delay This sends the same delay signal to both output channels. The maximum delay depends on the chosen configuration: Configurations 1, 2, 6 775, 800, 800 ms respectively Configurations 3, 4 1500, 1470 ms respectively Configuration ms
Stereo Delay Each audio channel has its own individual delay settings. The maximum delay depends on the chosen configuration: Configurations 1, 2, 6 375, 400, 400 ms respectively Configurations 3, 4 750, 705 ms respectively Configuration ms Ping-Pong Delay This delay bounces the delayed signal from left to right audio outputs, with the speed determined by the delay time. The maximum delay depends on the chosen configuration: Configurations 1, 2, 6 375, 400, 400 ms respectively Configurations 3, 4 750, 705 ms respectively Configuration ms Multi Tap Delay Available only in configuration 4, this offers up to 8 different taps along a delay line, with variable panning, volume, delay time, and feedback. The total delay of all taps cannot exceed 1470 ms. You might want to think of each individual tap as a mono delay line (being fed from a common source) with its own delay time feedback and volume parameters that can be panned anywhere in the stereo field.

4.7 A WORD ABOUT EQ, RESONATORS, AND GUITAR TONE

Resonators, EQ, and Tone

A guitar tone is a complex thing. Factors as diverse as the wood, size, and shape of a guitar can alter its tone. Strings, pickups, hardware, active electronics, and a myriad of other factors make up the distinctive and elusive intangible known as "tone". All of these factors, however, have one thing in common: they alter the harmonic structure of the guitar's sound. While the fundamental frequency of A above middle C is 440 Hz, the timbre of the note itself is made up of not only the fundamental frequency, but a series of overtones (harmonics) as well. When you play an A on one guitar, the note will have a unique sound. When you play an A on a different guitar, the note will have the same 440 Hz fundamental, but can have a completely different sound. This is due to the difference in overtones. This difference, which can be caused by all of the previously mentioned factors, means that every guitar setup has its own unique sound. Its own unique tone. The Quadraverb GT's EQ/Resonator section gives you specific control over fundamental and harmonic overtones in your guitar's tone. The parametric EQ gives you precise control of the fundamentals of your guitar tone by increasing or decreasing the amplitude of specific pitches over a variable bandwidth. By tuning the resonators and controlling their amplitude and delay resonance you can accentuate harmonics in your guitar tone. A resonator is a special filter whose response is so sharp that it actually imparts a pitch to any signal going through it.

Programmable Tone Curves

To simplify the process of getting a great guitar sound (after all, you'd rather play, right?), each configuration in the Quadraverb GT includes six preset tone curves with EQ and/or resonator parameters that have been pre-programmed to yield certain types of guitar tones with a minimum of programming. You can easily select one of these tones and store it to the program you're working on, or, if you wish, you can use the presets as starting points for creating your own custom tone curves. You might want to create tone curves for specific programs to be used with specific guitars, for example.
4.8 EDITING 3-BAND EQ AND RESONATOR PARAMETERS (config 1)

EQ Preset

The display says: EQ PRESET: U SER This page allows you to access 6 preset tone curves, or to create your own curve from scratch. The EQ and/or resonator parameters of the 6 preset curves have been programmed to give you a variety of tones to choose from. To listen to each tone curve, press the Up VALUE button which will scroll through presets 1 through 6. If you find a preset you like, you can store it to the current program by pressing the STORE button twice. To use a preset as a starting point for your own custom tone curve, simply edit its EQ and/or resonator parameters until you have the sound you want (for more about the specific parameters, see their explanations below). Then press the STORE button twice. This will store the edited tone curve as part of the program that you are currently working on. The next time you call up that program, your edits will appear as the program's USER curve. Configuration 1 has 6 tone curves. They are: #1 (3 Band EQ Mode) #2 (3 Band EQ Mode)

4.20 EDITING MIX PARAMETERS (config 7)
Configuration 7 offers separate mix levels for the Resonator, Delay, and Reverb modules, along with master/direct mix levels.

Preamp Signal Level

The display says: PREAMP LEVEL: 50 This mixes the preamp output signal into the master effects buss. Note that this level is dependent on the Preamp Output level found in the

Preamp module.

Resonator Output Level
The display says: RESONATOR LEVEL: 99 This mixes the resonator signal into the master effects output bus.

CHAPTER 5 SAMPLING

The QuadraVerb GT can record an audio sample of up to 1.55 seconds. During playback, the sample start and length times can be altered for special effects or to trim the playback of the sample to the actual start point of the sound. The sample can also be played back in its entirety (one shot) or continuously repeated (looping). Several external sources can trigger the sample, including an incoming audio source, MIDI note on, note off, and note number/pitch message, which allows the sample to be played back from a MIDI keyboard. CAUTION: A sample or edited version of a sample cannot be saved either internally or via MIDI and will remain in memory only as long as the power remains on. If you sample something you do not want to lose, record it on some other medium, such as a cassette or DAT recorder, before shutting off power to the QuadraVerb GT. Any time that you change configurations or programs you will lose your sample.
5.1 SELECTING THE SAMPLING CONFIGURATION
Configuration 8 is used for sampling. All sampling parameters are accessed through the DELAY module (although the EQ button is used for triggering and stopping sample playback). To select this configuration: 1. Press the CONFIG button. 2. Press the UP VALUE button until the display reads: CONFIGURATION: SAMPLING

5.2 RECORDING A SAMPLE

There are two ways to record a sample. In the first (the easiest way to get a good sample), the QuadraVerb GT waits for the incoming audio to trigger recording. With the second method, pressing the front panel BYPASS button initiates recording.
Recording By Audio Trigger
1. Press the DELAY button. The display says: SAMPLE PLAYBACK: LOOPING (The lower line may also show ONE SHOT or AUDIO TRIGGER.) This page is primarily for playback and can be bypassed for now. 2. Press the PAGE UP button three times. The display says: AUDIO TRIGGER SAMPLING: ON 3. Use the VALUE buttons to select Audio Trigger On mode (if it is turned off). 4. Press the BYPASS button. The display says: WAITING FOR AUDIO THRESHOLD 5. Send a signal to the QuadraVerb GT. When the first LED (-18dB) lights, the input signal has passed the audio threshold and recording has begun. For the best signal quality, vary the input level control so that the -6dB LED lights. The signal, and sample, will be distorted if the red "Clip" LED lights.

PROGRESS. The target QuadraVerb GT will say LOADING MIDI DATA (although when loading a single program, this happens so fast you might miss it if you blink). If you want to save the program to a DataDisk or other System Exclusive storage device, follow the same general procedure, but connect the QuadraVerb GTs MIDI Thru/Out to the storage devices MIDI In. To reload the data from the storage device back to the QuadraVerb GT, treat the storage device as the originator of the data, and the QuadraVerb GT as the target device. If you scroll past 99 for the program number to be transmitted, the display says: SEND MIDI PROG: EDIT TO EDIT Upon pressing the STORE button, the contents of the source QuadraVerb GTs edit buffer will be transferred to the target QuadraVerb GTs edit buffer (see section 3.2 for info about the edit buffer). This is useful if you want to send a program over to a QuadraVerb GT but dont want to commit it to a particular memory location. This feature is also great for programmers who make several edits to a program and cant decide which one they like best. Save each edit to a System Exclusive storage device as a separate file. When you reload these back to the QuadraVerb GT, each one will load into the Edit Buffer. Audition the different versions, one at a time; when you decide on one you like, store it to a QuadraVerb GT program location. If you scroll past the EDIT TO EDIT option, the display says: SEND MIDI PROG: A LL DATA Upon pressing the STORE button, this sends all program data in the QuadraVerb GT to the target QuadraVerb GT or MIDI System Exclusive storage device. Alesis strongly recommends that you periodically back up your programs to a System Exclusive storage device (DataDisk, keyboard that stores Sys Ex, sequencer program, etc.). Then if any malfunction occurs (e.g., the
QuadraVerb GTs internal battery goes dead, the unit gets abused and needs to be repaired, etc.), you can reload your programs back into the QuadraVerb GT and be right back in business with your own favorite patches. REMEMBER: The System Exclusive page must be set to ON for any of this stuff to work at all.
6.7 PROGRAM ADVANCE FOOTSWITCH RANGE
The display says: FOOTSWITCH RANGE 00 THROUGH 99 The advance footswitch jack on the rear panel lets you increment or decrement through a range of programs (as set on this page) one program at a time. Enter the range by alternating between the two numbers with the PAGE buttons, and change the numbers with the VALUE buttons. If the first number is higher than the second one, each footswitch press will decrement the program number by one. If the first number is lower than the second one, each footswitch press will increment the program number by one. Examples: If the first number is set to 76 and the second to 70, then pressing the footswitch will cycle through the programs in the following order: 76, 75, 74, 73, 72, 71, 70, 76, 75, 74, 73, 72, 71, 70, 76, etc. If the first number is set to 00 and the second to 10, then pressing the footswitch will cycle through the programs in the following order: 00, 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 00, 01, 02, 03, 04, 05, etc.

CHAPTER 7 MIDI MODULATION (NAME/MOD BUTTON)
Now were getting into the part for the hardcore MIDI fanatic; if youre
new to MIDI, it may take you some time to figure out how to work modulation into your sound. The good news is that MIDI control can add a tremendous amount of control to your setup (both live and in the studio), so once you learn to use MIDI modulation, youll be able to produce some absolutely mind-boggling effects. Weve already mentioned using a continuous controller footpedal to vary parameters in real time with a pedal (section 1.8). Another application is to use a MIDI sequencer to change parameters (and programs, if desired) in real time as you play. If youd just like to play instead of hit footswitches and move pedals, this is the answer. While it may not always be feasible to use a sequencer live, this technique can always work in the studio. It is possible to control up to eight parameters simultaneously from one to eight MIDI controllers. All mod assignments are stored with their programs, so a pedal could vary delay feedback in one program, equalization in another program, etc.
7.1 ABOUT MOD SOURCES AND TARGETS
A mod source controls a particular QuadraVerb GT parameter. The QuadraVerb GT can respond to any of the following sources of data: Continuous controllers This is the type of data produced by MIDI Continuous Controller footpedals. Several companies offer such pedals, which can usually be set to generate data over any particular controller number. Some products are available with multiple pedals, thus letting you control more than one parameter at a time. Pitch bend This data is produced by the pitch bend wheel on a synthesizer. Aftertouch This is another keyboard feature; pressing down on the keys after theyre down produces data that corresponds to the amount of pressure. Not all keyboards offer this feature. Note number This can be any MIDI note, as generated by a keyboard, drum machine, sequencer, etc. Note velocity The MIDI note will include velocity data that corresponds to the dynamics of your playing.
A target is the parameter to be controlled by the controller. Not all parameters of all configurations are available as targets, but many are. The basic idea is to choose a target parameter to be controlled, then assign a mod source to it (e.g., control delay feedback with controller 12). The QuadraVerb GT also lets you scale the amplitude and direction of the control data. In other words, increasing a controller value can either increase (positive direction) or decrease (negative direction) the target parameters value; amplitude determines over how wide a range the target parameter will be varied.

Configuration 1 Target Parameters
Reverb Input Mix Reverb Predelay Reverb Predelay Mix Reverb Type: Reverse Reverb Reverse Time Reverb Type: All Others Reverb Decay
Reverb Diffusion Reverb Density (not available for Reverb Type: Hall 1) Reverb Low Decay Reverb Hi Decay Delay Input Mix Delay Type: Mono Delay Delay Time Delay Feedback Pitch Mode: Pitch Detune Detune Amount Delay Type: Stereo Delay Left Delay Time/Right Delay Time L Delay Feedback/R Delay Feedback Pitch Mode: All Others LFO Speed LFO Depth Pitch Feedback
EQ Mode: 3 Band EQ Lo EQ Frequency Lo EQ Amplitude Mid EQ Frequency Mid EQ Bandwidth Mid EQ Amplitude Hi EQ Frequency Hi EQ Amplitude Direct Mix Level Preamp or EQ Mix Level Effect Mix Level Pitch Mix Level Delay Mix Level Reverb Mix Level Preamp Out Level
EQ Mode: Resonators + EQ Res 1 Decay Res 1 Amplitude Res 2 Decay Res 2 Amplitude Mid EQ Frequency Mid EQ Bandwidth Mid EQ Amplitude
Configuration 2 Target Parameters
Reverb Diffusion Reverb Density (not available for Reverb Type: Hall 1) Reverb Low Decay Reverb Hi Decay Delay Type: Mono Delay Delay Time Delay Feedback Lezlie Stereo Lezlie Motor Lezlie Speed Lezlie Hi Level Direct Mix Level Effect Mix Level Lezlie Mix Level Delay Mix Level Delay Type: Stereo Delay Left Delay Time/Right Delay Time L Delay Feedback/R Delay Feedback
Reverb Mix Level Preamp Out Level
Configuration 3 Target Parameters
Delay Type: Mono Delay Delay Time Delay Feedback Delay Type: Stereo Delay Left Delay Time/Right Delay Time L Delay Feedback/R Delay Feedback
Each Graphic EQ Band Boost/Cut (11 target parameters total) Direct Mix Level Effect Mix Level EQ Mix Level Delay Mix Level Preamp Out Level
Configuration 4 Target Parameters
Delay Input Mix Delay Type: Mono Delay Delay Time Delay Feedback Pitch Mode: Pitch Detune Detune Amount Delay Type: Stereo Delay Left Delay Time/Right Delay Time L Delay Feedback/R Delay Feedback Pitch Mode: All Others LFO Speed LFO Depth Pitch Feedback EQ Mode: Resonators + EQ Res 1 Decay Res 1 Amplitude Res 2 Decay Res 2 Amplitude Res 3 Decay Res 3 Amplitude Res 4 Decay Res 4 Amplitude Res 5 Decay Res 5 Amplitude Low EQ Frequency Low EQ Amplitude
EQ Mode: 5 Band EQ Low EQ Frequency Low EQ Amplitude Low Mid EQ Frequency Low Mid EQ Bandwidth Low Mid EQ Amplitude Mid EQ Frequency Mid EQ Bandwidth Mid EQ Amplitude High Mid EQ Frequency High Mid EQ Bandwidth High Mid EQ Amplitude Hi EQ Frequency

8.2 MIDI HARDWARE

MIDI-compatible devices usually include both MIDI In and MIDI Out jacks, which terminate in 5-pin DIN-style connectors. The MIDI Out jack transmits MIDI data to another MIDI device. As you play a MIDI controller such as a keyboard, data corresponding to what you play exits the MIDI Out jack. Example: If you play middle C, the MIDI Out transmits a piece of data that says "middle C is down." If you release that
key, the MIDI Out transmits another piece of data that says "middle C has been released." If the keyboard responds to the dynamics of your playing, the note data will include dynamics information too. Moving the modulation wheels and pedals attached to many synthesizers will also generate data associated with the wheel or pedal being used. The MIDI In jack receives data from another MIDI device. In addition to the type of performance data described above, rhythmically-oriented MIDI devices (e.g., drum machines) can often transmit and/or receive additional MIDI timing messages that keep other rhythmically-oriented units in a system synchronized with each other. An optional MIDI Thru jack provides a duplicate of the signal at the MIDI In jack. This is handy if you want to route MIDI data appearing at one device to another device as well. Some devices, like the Quadraverb GT, switch their MIDI Out between the Out and Thru functions. Example: Suppose a keyboards MIDI Out feeds the QuadraVerb's MIDI In. If the QuadraVerbs MIDI Out is set to function as a Thru jack, you could patch it to the input of an MMT-8 sequencer. Thus, the keyboard would control the QuadraVerb and be able to record data into the sequencer.

8.3 MIDI MESSAGE BASICS

The are two main types of MIDI messages. Channel messages, which are channel-specific, consist of Voice and Mode messages. System messages, which do not have a channel number and are received by all units in a system, include Common, Real Time, and Exclusive messages.

8.4 CHANNEL MESSAGES

8.4A Voice Messages
A synthesizer's voice is the most basic unit of sound generation. Usually, each voice plays one note at a time, so the number of notes you can play at one time will be limited by the available number of voices. MIDI
messages that affect voices include: Note On Corresponds to a key being pressed down; values range from 000 (lowest note) to 127 (highest note). Middle C is 60. Note Off Corresponds to a key being released; values are the same as note on. Velocity Corresponds to dynamics; values range from 001 (minimum velocity) to 127 (maximum velocity). A velocity of 000 is equivalent to a note-off message. Pressure Indicates the pressure applied to a keyboard after pressing a key. Like many other affordable keyboards, the DPM 2 does not include pressure. Program Change Sending a program change command from a sequencer or other MIDI keyboard can change synth patches automatically. There are 128 program change command numbers. Also note that not all units number programs consistently. Some number them as 000-127, others as 001-128, and still others arrange programs in banks of 8 programs (such as A1-A8, B1-B8, C1-C8, etc.). Pitch Bend This "bends" a note from its standard pitch. Continuous Controller Footpedals, breath controllers, and modulation wheels can vary sounds as you play, thus adding expressiveness. MIDI allows for 64 continuous controllers (these act like potentiometers in that you can choose one of many different values) and 58 continuous/switch controllers (these can act like continuous controllers but some are assumed to choose between two possible states, such as on/off). Each type of controller is stamped with its own controller identification number. Not all controller numbers have been standardized for specific functions, but the following indicates the current list of assigned controllers. Numbers in parenthesis indicate the controller range. 5 Modulation Wheel (0-127) Breath Controller (0-127) Early DX7 Aftertouch (0-127) Foot Controller (0-127) Portamento Time (0-127)

D UKE V ENTRA P RODUCTIONS
2837 Worden Street San Diego, CA 92110 Ph: (619) 846-9282 email: flop@dukeventra.com email: dventra@gmail.com URL: www.dukeventra.com

PRODUCTION FACILITY:

COMPUTER STATION:
Apple MacBookPro 17 Intel DualCore 2.16 Ghz / 2Gig SDRAM / 100 Ghz 7200 rpm HD / OS X 10.5.4 Apple G4 Mac - Dual 1.25 Ghz Processors / 120 Gig HD / 1 Gig DDRAM / SuperDrive (OS X 10.4.1) Gateway XHDExtreme HD Display ViewSonic 19 Graphics Series G90f CRT Monitor Apple 17 CRT Monitor Mitsubishi 29 TV MiniG 600 Gig External FireWire Hard Drive Maxtor 500 Gig External FireWire Hard Drive Western Digital 500 Gig MyBook External FireWire Hard Drive LaCie 250 Gig d2 Extreme External FireWire Hard Drive (x4) Glyph 80 Gig External FireWire Hard Drive Iomega Zip 750 Geek Squad 8 Gig USB Flash Drive Geek Squad 4 Gig USB Flash Drive Geek Squad 1 Gig USB Flash Drive Tannoy Reveal Active Audio Monitor Speakers Emagic Unitor 8mkII MIDI Interface MOTU 896 Audio Interface APC Back-Ups CS-500 Power Conditioner & Battery Back-Up Apple 7100/80AV / 700Meg HD / 80 Meg RAM / CD ROM (OS 8) Digidesign 882 Studio Audio Interface Opcode Studio 5LX MIDI Interface Seagate 2.2 Gig External SCSI Hard Drive Yamaha 8/8/24 External SCSI CD-RW Belkin F5C240 Surge Master Power Conditioner Power Computing PowerTower Pro 225 (Mac Clone) OS 9 PC Laptop Windows 98 MS Epson Stylus CX4200 All In One Scanner / Copier / Printe Epson Perfection 4180 Photo Scanner Epson Stylus Color 740i Printer
MUSICAL INSTRUMENTS / SOUND MODULES / CONTROLLERS
Yamaha CVP-59S 88 Key Weighted Keyboard Controller / Sound Module Ensoniq VFX SD Keyboard / Sound Module Korg 01/W FD Keyboard / Sound Module EMU Virtuoso 2000 Orchestral Sound Module Emagic EVB3 Virtual B-3 Organ Software Plug-In Fender Roland Ready MIDI Guitar Ovation S868 Special Edition Acoustic/Electric Guitar Gibson ES-175 Electric Hollow Body Electric Guitar Tokai Strat Electric Guitar Roland GR-33 Guitar Synth / Sound Module Line 6 Pod Pro Guitar & Amp Modeler w/ Floorboard Controller Alesis QuadraVerb GT Guitar FX Processor Fender Twin Reverb Amp
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2837 Worden Street San Diego, CA 92110 Ph: (619) 846-9282 email: flop@dukeventra.com email: dventra@gmail.com URL: www.dukeventra.com Aria Pro II Electric Bass Guitar Roland v-session Electronic Drum Trigger Kit Roland TD-10 Percussion Sound Module with TDW-1 Expansion Board Roland R-8 Drum Machine / Sound Module Rodgers Drum Kit w/ Zildjian Cymbals CP Congas (2) LP Timbalis (2) Misc. Percussion (Cowbells, Tamborines, Claves, Temple Blocks, Maracas, Sleigh Bells, Vibra Slap, etc.)

AUDIO SOFTWARE

Apple Logic Pro 7.2.3 Emagic Soft SoundDiver 3.1.0 Public Beta 2 Coda Finale 2005 Bias Peak Express 3.3 Roxio Toast Titanium 8.0.3 Roxio Jam 6.0.1 PG Music Band In A Box 12 Rogue Amoeba Software LLC Audio Hijack Pro 1.2.6 SIA Smaart Live 5 Figure 53 QLab 1.3.5

VIDEO SOFTWARE

Apple Final Cut Pro Studio 2 - Final Cut Pro 6.0.3 - Motion 3.0.2 - Live Type 2.1.3 - Soundtrack Pro 2.0.2 - Color 1.0.2 - Compressor 3.0.3 - Cinema Tools 4.0.1 - DVD Studio Pro 4.2.1 Apple Shake 4 Adobe After Effects 6.0 Autodesk Inc Cleaner 6.0.1 Apple iMovie 7.1.1 Apple iDVD 7.0.1 Noise Industries FXFactory 2.0.2 Squared 5 MPEG Streamclip 1.8 LQ Graphics, Inc. Motion Pictures HD 2.1.4t LQ Graphics, Inc Photo to Movie 4.1.1

MISCELLANEOUS AUDIO/VIDEO PHOTOGRAPHY GEAR
Sony DCR-TRV 120 Digital Camera (Digital 8 Format) Panasonic PV-GS80 Digital Camera (MiniDV Format) Canon EOS 650 35mm Camera with Sigma 75-300 Zoom Lens Velbon CX 690 Tripod
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2837 Worden Street San Diego, CA 92110 Ph: (619) 846-9282 email: flop@dukeventra.com email: dventra@gmail.com URL: www.dukeventra.com Flexi-Stand Tripod Tascam MS-16 Track Tape Machine Tascam M520 Mixing Console Mackie 1604 Mixing Console 10 Rack Space Patch Bay (Re-an, ProCo, Furman, Tascam) Snakes for Patch Bay (ProCo, Hosa) Whirlwind 24x4 Fan > Box 100 Snake Rane HC-6 Headphone Amp Nikko EQ-1 Graphic EQ Tascam 122mkII Cassette Deck Magnavox MDV412 DVD/Video CD/CD Player Sony MDS-JE500 MiniDisc Deck Fisher DAC-503 5-CD Player Aphex 107 Aurel Exciter Alesis QuadraVerb (2) Alesis MicroVerb III (2) Alesis 3630 Compressor/Limiter (2) dbx 363X Stereo Gate AKG 414 Mic Audio Technica AT3035 Mic Shure SM58 (4) Mics Sony Headphones (1) AKG K-240DF Headphones (4)
MULTIMEDIA SOFTWARE (Mac)
QuickTime 7.4.5 Macromedia Director MX Adobe Creative Suite 3 - Photoshop CS3 - Illustrator CS3 - MacroMedia Flash CS3 - Macromedia Dreamweaver CS3 - GoLive CS3 - InDesign CS3 - Bridge CS3 Adobe Photoshop Elements 2 Caffine Software PixlNhance 1.5.8 Lemke Software GraphicConverter 5.4 Snapz Pro X Renewed Vision ProPresenter Renewed Vision ProVideoPlayer Renewed Vision ProVideoSync DT Videolabs PlaybackPro 2.1.4 DT Videolabs RecordPro 1.1.2 JS8 RealBean 2.9 Figure 53 QLab 1.3.5
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GENERAL SOFTWARE

Mac: Softworks Inc, Fetch 4.0.3 Microsoft Office 2004 & 2008 for Mac - Excel 12.0 - Word 12.0 - PowerPoint 12.0 - Entourage 12.0 Apple Safari 3.1.1 Netscape Communicator 7.2 Apple AppleWorks 6.2.4 - Wordprossor - Preadsheet - Database - Drawing - Painting - Presentation Apple Image capture 4.0 FileMaker Pro 9 Advanced 9.0.1 Apple QuickTime Pro 7.4.5 MacSpeech iListen 1.6.6 Intuit Quicken Apple iWork (OSX) - Pages 3.0.2 - Keynote 4.0.3 - Numbers 1.0.2 Apple iCal 3.0.2 Apple iChat 4.0.2 Apple iTunes 7.6.2 Apple iPhoto 7.1.3 Adobe Acrobat 6.0 Pro Apple Preview 4.1 Transparent Language Language Now! 8.1 Russian Aladdin Systems Stuffit Expander 10.0.1 Microsoft Excel XP (Windows 98) Microsoft Word XP (Windows 98) Microsoft PowerPoint XP (Windows 98) Microsoft Front Page XP (Windows 98) Microsoft Publisher (Windows 98) Microsoft Outlook (Windows 98) Microsoft Outlook Express (Windows 98) Microsoft Internet Explorer (Windows 98) Netscape Communicator (Windows 98) Intuit Quicken 98 (Windows 98) Dragon Naturally Speaking Preferred (Windows98) Microsoft Windows Media Player 2 (Windows 98) Norton AntiVirus 2002 (Windows 98)

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